Henry Low wrote:
Hi guys, I am planning to buy multiple flash units and have decided to go the Sigma Route instead of useing speedlites.
I am planning to buy 3 Sigma 500 DG supers for my Canon 20D. I was wondering, Can I use the 500 DG Supers as teh transmitter? or Do i have to get a Speedlite 550EX as the main transmitter on the hotshoe to communicate with other flashes through wireless?
And also, I understand that the wireless transmittion is through IR, does that mean that the Flashes have to face eachother inorder to communicate? If so, wouldnt that make it hard to make good light composition, for example, when doing studio shots of people.
Thanks in advance,
Henry
I just had a look at the B&H site and you could buy a 550EX and two 420EX
flashes for $630 US. Three DG Supers will cost $600. Now deciding to go Canon or Brand X would now take me about a nano-second, and it wouldn't be Brand X.
A 550 and two 420's are exactly what I'm using right now so I may well be
biased. But they work the way they should and are more than powerful enough. And along with their relative simplicity compared to the 550 is a lighter and smaller package. That means that they get packed with the 550 in my camera bag so I have them with me all of the time.
As for flash placement, I live by the rule that the Slaved flash MUST be able to "see" the Master, no matter what kind of room I'm using. In a small room you probably will get enough reflections to have them fire but I accept that as a happy accident. These will not give you the response of a radio slaved flash and if you are thinking that they might stretch that far then you'll be disappointed.
The 420'S have a red pulse that emits from the front of the flash when it is in the Slave setting. Although I can't speak about the DG Supers, I just assume that they too have this pulse. It doesn't seem to do much but it does tell me that the slaved flash is on and ready to go.
The 420's have a go-to-sleep mode that will be indicated if that red light goes off, and that's nice to know. But in order to see this red pulse I have to turn the body of the flash towards the Master flash and me. If I didn't turn the body of the flash this red light would be aimed at the subject and without doubt would be visible on them.
The subject would also find it very disconcerting having this bright red light (or
two) flashing in their eyes, while they were trying to make a speech or
something. I don't know if Canon designed it this way to force the photographer
to square the Slave to the Master, but it does assure the best possible reception.
"There's never time to do it right. But there's always time to do it over."
Canon 5D, 50D; 16-35 f2.8L, 24-105 f4L IS, 50 f1.4, 100 f2.8 Macro, 70-200 f2.8L, 300mm f2.8L IS.